Natasha Kinkski is mesmerising in the lead role. She says little but conveys great presence.
Long and luxurious, it looks fantastic and the 186-minute running time never seems long.
Michael Winterbottom’s skilful adaptation of Thomas Hardy’s Jude the Obscure is a powerful and moving saga.
Christopher Eccleston plays Jude Fawley, the self-educated stonemason who falls in love with his well-to-do cousin Sue Bridehead (Kate Winslet). In addition to the scandal of the couple being related (and both married to someone else), the story also addresses their conflicting class backgrounds.
There’s real gravitas in the performances and it ends up being moving without resorting to sentimentality.
June Whitfield is excellent as Jude’s elderly mother.
In the weeks following the US Civil War, Colonel Morsman Carver (Liam Neeson) and a team of men attempt to hunt down a man he wants to kill (Pierce Brosnan).
Both leads are excellent. It’s probably the most actual acting Brosnan has ever done.
There’s a relentless quality as they survive a sequence of grim fates, but unlike its spiritual cousin Revenant it doesn’t become ridiculous or unbelievable.
Al Pacino stars as famed forensic psychiatrist Dr. Jack Gramm, who is suddenly faced with a new murder that resembles the ones from his past that led to him putting away serial killer Jon Forster (Neal McDonough), who is now on Death Row. Then Gramm gets a phone call telling him he has 88 minutes to live…
The premise is a strong one, and Pacino cannot help but be anything except extremely charismatic, but the film just doesn’t work. The action is meant to occur in almost real time, but so many of the episodes shown would have taken much longer than the narrative allows them. Crossing a concourse, driving across town, going up in a lift: all of these things take more time than the few minutes the plot allows for them. And for some of that time, he doesn’t even seem in a hurry.
The story logic is pushing it, but just about holds together. But it’s still deeply odd, and only works if you accept that Pacino hangs around with young girls all the time.
Scudder, who now works as a private detective, begins investigating a series of brutal kidnappings.
It’s a little gruelling in places – there’s a theme about chopping people up, so there’s some gore. There’s a degree of tension from the suspenseful plotting, and the film is highly watchable without ever quite dazzling.
The “Y2K” panic references stand out. It’s a story that’s preoccupied with the millennium in a way that seems baffling now.
A free-thinking art teacher named Katherine Watson (Julia Roberts) starts working at a private school where women are trained to be good wives who will obey their husbands. Watson encourages them to think beyond those boundaries and question the roles that have been selected for them.
It’s nearly brilliant. The four main students are excellently played by Kirsten Dunst, Maggie Gyllenhaal, Julia Stiles and Ginnifer Goodwin. Roberts is somehow less convincing – a rather po-faced character, drawn in the broadest strokes. Also, Roberts somehow seems like she’s from the 1990s rather than the 1950s, so you can never quite believe in her. It’s almost like a time travel film in which she’s a social visionary from the future who comes to enlighten the girls of the past.
The film makes lots of points about social roles but it’s just too simplistic to carry any real weight. Instead, it ends up being a rather wishy-washy compromise about doing what’s right and following your heart.
Tori Amos has a cameo as a wedding singer. Juliet Stevenson has an intriguing role as a rebellious lesbian, but she’s cast out of the school and the film too early.
Witty romantic comedy directed and written by Amy “Clueless” Heckerling.
Rosie (Michelle Pfeiffer) is a TV scriptwriter. Adam (Paul Rudd) is an actor who comes to work on the show she writes. There’s a big age difference between them.
There are some funny lines and there’s obviously a lot of intelligence in the Hollywood satire. Overall, though, it doesn’t quite work. The “magical” thread in which Tracey Ullman plays Mother Nature isn’t funny enough to work, and seems like a leftover from a different kind of story concept. Also, it sometimes seems too knowingly crammed full of industry in-jokes and references that aren't directed at the wider public. A cameo by Henry “Fonz” Winkler is thrown in with little effect.
It's visually distinctive, with super-bright, bleached-out lighting. It's notable, too, for the number of British actors, from Graham Norton to Sarah Alexander, and also for the inclusion of several songs on the soundtrack by The Cure.
As with A Simple Plan, in which Fonda also featured, it explores what happens to poor people who suddenly have money. The twist this time is that Charlie and Yvonne are such kind people that – unlike their selfish spouses – they cannot be corrupted by their windfall.
The big flaw is Rosie Perez gratingly hamming it up as Charlie’s wife Muriel. She’s almost unbearable to watch. The character is clearly meant to be annoying, but maybe they took it too far. Cage and Fonda, however, are both tremendous. There’s great chemistry between them, and their gentle romance is sweet and charming.
All in all, it's refreshingly different.
Directed by Angelina Jolie, this is a long and slow true story of American Olympic runner Louis Zamperini (Jack O'Connell).
Zamperini survives two plane crashes, several weeks floating on a raft and two Japanese POW camps – and yet the film detailing these events somehow ends up plodding and dull.
O'Connell is OK, but he has few lines and little actual character. Even less well drawn is Sgt. Mutsuhiro "The Bird" Watanabe (Miyavi), who is sadistic in a way that’s never really explained – despite the seemingly endless scenes of torture.
A good story, badly told, it's further proof that actors don't usually make for great directors.
Strikingly unusual romantic comedy.
New Yorker Michael Dorsey (Dustin Hoffman) cannot hold down work as an actor because he's too opinionated to accept his directors' instructions. Out of desperation, he pretends to be a woman (reshuffling his name as Dorothy Michaels) and is hired to play a hospital administrator on the popular TV soap opera Southwest General. While on the set he meets and falls in love with another member of the cast, Julie Nichols (Jessica Lange), who believes he is both her new best friend and also a woman.
Hoffman is at his best – pushy but vulnerable, quirky but sharply witty. Lange is also excellent. Bill Murray, as Michael's long-suffering friend Jeff, pretty much does his usual thing. Teri Garr, meanwhile, has an intriguing role as his other friend Sandy.
In the film's oddest moment, Sandy catches Michael in a state of undress in her bedroom where he hopes to find new clothing ideas for his Dorothy persona. But hoping to hide this from her, he pretends he wanted to sleep with Sandy and then goes ahead and does exactly that. Moments like this make it quite revealing in terms of the gender politics of the late 1970s/early 1980s, and the film would certainly have turned out differently if it had been made now.
